In “The Evolution of the Language of Cinema” Bazin speaks o: the image as being evaluated not according to what it adds t< reality but what it reveals of it. "The Evolution of the Language of Cinema". Andre Bazin. Jean Renoir; Precursor to Welles, understood the importance of depth; Orson Welles. Film critic Andre Bazin had very strong feelings on the subject of montage and realism. In his article “The Evolution of the Language of Cinema”, he explains his .

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Potoniee has even felt justified in maintaining that it was not the discovery of photogra- phy but of stereoscopy, which came onto the market just slightly before the first attempts at animated photography inthat opened the eyes of the researchers.

Scattered among allusions drawn from literature, poetry, philosophy, and religion are analogies from langkage, electricity, geology, psychology, and evllution. The narrative is again becoming capable of reintegrating the temporal truth of things, the actual duration of an event which the classical narrative insidiously replaced with intellectual and abstract time.

Between them, director and cameraman have converted andrre screen into a dramatic checkerboard, planned down to the last detail. What the camera reveals, Mitry argues, is not the reality in itself but a new appearance correlated to the world ol things — what indeed one may call a camera-perception which, ir- respective of the will of the cameraman, produces a certain “segre- tue of space,” o is to say, a restructuring of the real so that it can no longer be considered “objective and immediate.

How do I set a reading intention To set a reading intention, gazin through to any list item, and look for the panel on the left hand side: Take, for instance, a dramatic construction pivoted on three characters in Wyler’s The Best Years of Our Lives the scene where Dana Andrews and Teresa Wright break off their engagement. This site uses cookies. There would have been no difference between the SCP rc t-hot and the chapter in a novel which recounted the same imaginary e pi”sode.


Reynaud had been painting his little figurines for some time and the first films of Melies are colored by stencilling. Free to shoot in the studio with a much smaller aperture, the operator could, when necessary, eliminate the soft-focus background once considered essential.

It has always been a tempta- tion to the film-maker to film theater since it is already a spectacle; but we know what comes of it. If the art of cinema consists lf everything that plastics and montage xinema add to a given reality, the silent film was an art on its own. It is a question then, as we have said above, of fictions that do not derive their full signifi- cance or, at most, only derive their value, from the integration of the real and the imaginary.

The atmosphere and plot of the film are revealed entirely through visual means, using wildly abstract sets and dramatically exaggerated makeup.

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A statue painted on a wall should look as if it were standing on a pedestal in space. That languae on whose brow he has placed a crown of glory is all the greater for having been stripped by him of the falsely glittering robes that hampered v Foreword its progress.

On the other hand, film-makers continue to adapt novels that are sometimes first-rate as novels but which they feel justified in treating simply as very detailed film synopses.

Summary of “The Evolution of the Language of Cinema”

To ask other readers questions about The Evolution of the Nazin of Cinemaplease sign up. They had a specific purpose in mind and were satisfied when they had accomplished it. Feuillade himself proceeded in the same way in making his films.


Photography affects us like a phenomenon or nature, like a flower or a snowflake whose vegetable or earthly origins are an insep- arable part of their beauty. The misfortune of Oedipus and Hamlet meant about as much to the cinema in its early days as “our ancestors the Gauls” do to Negro elementary school children in the African bush.

The combinations are infinite. It implies evopution respect for the continuity of dramatic space and also, of course, for its duration. Slight track back to take in the actor from the knees up, seizing a chicken’s wing.

Summary of “The Evolution of the Language of Cinema” – Screened

If the obvi- ous borrowings in France — Hollywood unashamedly pillaged the techniques and personnel of the Anglo-Saxon music hall — from what survived of the popular theater, of the fairgrounds, or the boulevard, did not create aesthetic disputes, it was primarily be- cause as yet there was no film criticism properly so called.

Sound could have played only a subordinate and complementary role, as a counterpoint to the visual image. Our intention is certainly not to preach the glory of form over content. Just a moment while we sign you in to your Goodreads account. Iman Forootan marked it as to-read Nov 25, He has one simple rule for direction. What we are saying then is that the sequence of shots “in depth” f the contemporary director does not exclude the use of montage. Those categories of resemblance which determine the species photographic image likewise, then, determine the character of its aesthetic as distinct from that of painting.

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